The collection's only fully abstract representational drawing — a figure rendered not in organic lines but as a system of flat geometric shapes. The head is a tilted rectangle with two circular eyes, a horizontal mouth mark, and a small jagged tooth element. Below the rectangular head a horizontal baseline separates the torso — represented as two diagonal lines forming a triangular or V-shaped body — from the lower body, which contains a circle representing the navel or pelvis zone. The composition is deliberately schematic, reducing the human figure to its component rectangles, triangles, and circles.
The geometric abstraction connects this work to the modernist tradition of Cubist and Constructivist figure drawing, where the body is analyzed as a system of planar and volumetric forms rather than observed as organic surface. The tilted rectangular head — with its mismatched eyes and geometric mouth — has qualities associated with Klee, Picasso's schematic figures, or Leger's mechanical personages. Whether this represents Sidney working through a specific modernist influence or arriving independently at a geometric analysis, the departure from his characteristic observational mode is total.
The context of the drawing — pencil on a small 9.5 by 5.75 sheet, probably made quickly — suggests this is more exercise or exploration than finished statement. But in the context of a collection dominated by sustained observational figure drawing, this geometric abstraction stands out as evidence of a completely different mode of engagement with the human figure: not the figure as it appears but the figure as a system of analyzable parts.